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| Richard Serra |
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* 1939 San Francisco, California
Props
Serra envisions sculpture as the physical manifestation of transitive verbs. In 1967 and 1968 he compiled a list of infinitives that served as catalysts for subsequent work: “to hurl” suggested the hurling of molten lead into crevices between wall and floor; “to roll” led to the rolling of the material into dense, metal logs. While the process of fabricating these pieces was, in essence, their very subject, Serra eventually deemed them too picturesque and he shifted strategies once again. Continuing his employment of lead, Serra utilized another transitive verb: “to prop.” [...] Dispensing with carving and welding—conventional methods of delineating volume and securing mass—Serra created precarious sculptures that stand by virtue of equilibrium and gravity. Such pieces exist in a constant state of tension, ever revealing the process of their making, ever threatening to tilt off balance.
(Nancy Spector on Right Angle Prop for the Guggenheim Collection)
Drawings
This preoccupation with site and context was paralleled in drawing, in that my drawings began to take on a place within the space of the wall. I did not want to accept architectural space as a limitiing container. I wanted it to be understood as a site in which to establish and structure disjunctive, contradictory spaces. By the nature of their weight, shape, location, flatness and delineation along their edges, the black canvases enabled me to define spaces within a given architetural closure.
(Richard Serra: „Notes on Drawing“, in: Zeichnungen/Drawings 1969 – 1990, Hg. & Werkverzeichnis: Hans Jansen, Maastricht 1990, p.8.)
more information under: Richard Serra at Galerie m Bochum
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Sign Board Prop, 1969/87,
lead antimony, plate 130 x 130 x 2,5 cm, pole length 78 cm
Mic Mac (No. 1), 1990,
Oilstick on canvas, 190,5 x 344,0 x 7,0 cm
Revolve, 2001
Oilstick on handmade paper, 91 x 77 cm
untitled (#39), 2006,
Oilstick on paper, 77,5 x 77,5 cm
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